Copy and paste this worksheet as a separate page linked to the Homepage of your portfolio. DO NOT type your answers on THIS document because it needs to be used by other students. The title of your page which replies to these questions is linked to your portfolio and should begin with the first initials of your first and last name. (In my case, the link to this worksheet from my portfolio page would read frexecution.)
You may earn a maximum of 3 points toward your final grade by doing the above and answering the questions and submitting them ontime (no later than Sunday, March 25 on or before 12:01am). Any worksheets submitted after the deadline will get a 0.
You will be rewarded a maximum of 3 points if I judge your work to be above average. You will receive 2 points if your work is average, that is it may have a few minor mistakes in some of the answers but demonstrates correct grammer and indicates that some, but not all, of the answers, are acceptable and well expressed. You will earn only 1 point if you simply answered the questions and/or if you use poor grammar and if there are signs that you have not read the material on which your answers are based.
Note: The dramatic action in this play does not flow in the same manner as that in Trifles, Wedding Band, Real Women Have Curves, and Split Second. For one thing, Mann has built her play around interviews with individuals who lived thru the incidents depicted in the play, such as friends of Milk, reporters who covered the trial, even jurors who spoke out after the trial was over. This approach to the construction of a play is unique and often challenging to readers. It generally works well on the stage but not so well in the study. We see another playwright use this technique with very different results in Fires in the Mirror. So, the questions posed about the construction of the play do not easily follow Ball’s method of analysis.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve?
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Execution of Justice and how is it broken?
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: what is the heart of the play? How does the title figure in this?
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
5. Use the two lawyers to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing each of the lawyers.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Execution of Justice.
Copy and paste this worksheet as a separate page linked to the Homepage of your portfolio. DO NOT type your answers on THIS document because it needs to be used by other students. The title of your page which replies to these questions is linked to your portfolio and should begin with the first initials of your first and last name. (In my case, the link to this worksheet from my portfolio page would read frexecution.)
You may earn a maximum of 3 points toward your final grade by doing the above and answering the questions and submitting them ontime (no later than Sunday, March 25 on or before 12:01am). Any worksheets submitted after the deadline will get a 0.
You will be rewarded a maximum of 3 points if I judge your work to be above average. You will receive 2 points if your work is average, that is it may have a few minor mistakes in some of the answers but demonstrates correct grammer and indicates that some, but not all, of the answers, are acceptable and well expressed. You will earn only 1 point if you simply answered the questions and/or if you use poor grammar and if there are signs that you have not read the material on which your answers are based.
Note: The dramatic action in this play does not flow in the same manner as that in Trifles, Wedding Band, Real Women Have Curves, and Split Second. For one thing, Mann has built her play around interviews with individuals who lived thru the incidents depicted in the play, such as friends of Milk, reporters who covered the trial, even jurors who spoke out after the trial was over. This approach to the construction of a play is unique and often challenging to readers. It generally works well on the stage but not so well in the study. We see another playwright use this technique with very different results in Fires in the Mirror. So, the questions posed about the construction of the play do not easily follow Ball’s method of analysis.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve?
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Execution of Justice and how is it broken?
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: what is the heart of the play? How does the title figure in this?
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
5. Use the two lawyers to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing each of the lawyers.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Execution of Justice.